A motion analyzing method analyzes and displays motions of a human being or an animal using a computer in an interactive manner without requiring trial and error or without depending on intuition of an analyst. A human body or an animal body is divided into a plurality of segments connected by joints, each of the segments acting as a minimal unit of motion. Data for modeling the human or animal body on the basis of physical constraints and the inherent nature of each of the segments is maintained in a database. Motions are input to be analyzed and the input motions are analyzed using inverse dynamics. The resultant movements and the center of gravity of each of the segments, the force and torque exerted on each of the joints, the movement and the center of gravity of the whole body, and the forces and torques exerted on the centers of gravity are superimposed on the human or animal body model of the database and are displayed on a screen. The new motions thus displayed can be used for the teaching of new skills in the industrial or performing arts, in sports, or in animal training.

Computer-implemented motion analysis method using dynamics

A new approach for the animation of articulated figures is presented. The authors propose a system of articulated motion design which offers a full combination of both direct and inverse kinematic control of the joint parameters. Such an approach allows an animator to specify interactively goal-directed changes to existing sampled joint motions, resulting in a more general and expressive class of possible joint motions. The fundamental idea is to consider any desired-joint space motion as a reference model inserted into the secondary task of an inverse kinematic control scheme. The approach profits from the use of half-space Cartesian main tasks in conjunction with a parallel control of the articulated figure called the coach-trainee metaphor. In addition, a transition function is introduced so as to guarantee the continuity of the control. The resulting combined kinematic control scheme leads to a new methodology of joint-motion editing which is demonstrated through the improvement of a functional model of human walking

Combined Direct and Inverse Kinematic Control for Articulated Figure Motion Editing

This document has been prepared in the ESPRIT BRA No. 8579, Multimodal Integration for Advanced Multimedia Interfaces — in the following referred to as MIAMI — in order to serve as a basis for future work. The basic terms which will be used in MIAMI will be defined and an overview on man-machine-interfaces will be given. The term " taxonomy " is used in the following sense, adapted from [217]: " 1: the study of the general principles of scientific classification: SYSTEMATICS; 2: CLASSIFICATION; specif: orderly classification of plants and animals according to their presumed natural relationships " ; but instead of plants and animals, we attempt to classify input and output modalities.

A taxonomy of Multimodal Interaction in the Human Information Processing System

We present a collaborative tool for choreographers and dancers, the Choreographer's Notebook, which allows multimodal annotation of rehearsal videos during the dance production process. The dance production process is a creative process in which exploration and expression are paramount and we describe issues we have observed over four different dance production cycles. The Choreographer's Notebook addresses the recurring problem of scarcity of rehearsal time and space, which is a limiting factor for exploration and expression. The tool is a web-based video application that enables choreographers to provide multimodal, context-sensitive instructions and feedback to the dancers outside of formal rehearsal time. The novelty of this tool is its ability to provide a multimodal collaborative video-based workflow. This article also presents a thorough ethnographic investigation of the dance production process and results from the use of the Choreographer's Notebook as an artifact within that process.

The choreographer's notebook: a video annotation system for dancers and choreographers

I describe the research and creation journey of a choreographic dance piece called SKIN that I made with another choreographer, 3 dancers, 1 musician and 1 developer. The performance integrates interactive technologies mapping inner movement to sound and video on stage. We followed a research though practice method that includes iterative cycles of choreographic practice and interaction design. This generated a set of research questions that I address through experience explicitation interviews of both audience and creative team members. The interviews allow me to investigate the lived experience of making and attending the performance and the emergent relationships between dance, media and interaction as well as the tensions and negotiations that emerged from integrating technology in art. I discuss my approach as anti-solutionist and argue for more openness in HCI to allow artists to contribute to knowledge by embracing the messiness of their practice.

/pdf/making-an-interactive-dance-piece-tensions-in-integrating-qnxtxpsarg.pdf

Making an Interactive Dance Piece: Tensions in Integrating Technology in Art

Insights gained from an interdisciplinary study of the creative processes involved in dance composition are the basis for the development of computer based tools to support dance composition and animation The system which has been developed (COMPOSE) provides an interactive hierarchical environment where the user can reduce the complexity of the task by flexibly switching between spatial and temporal views of the composition Realistic animation of the final result is also available COMPOSE, which is implemented on IRIS and Macintosh workstations, has proven itself to be of real value in dance composition It is now being tested as the front-end of a conventional animation system for use in the animation of multiple articulated figures

Composition of multiple figure sequences for dance and animation

This paper explores the nature of creative composition particularly as it applies to dance, and describes the development of interactive computer based tools to assist the composer. The hierarchical nature of the composition process calls for an interface which allows the composer the flexibility to move back and forth between alternate views and conceptual levels of abstraction.COMPOSE, an interactive system for the composition of dance has been implemented on Silicon Graphics and Apple workstations. The user visually composes in space and in time using menus of postures and sequences. Paths can be edited and an animation of the dance composition allows the final result to be evaluated.

Tools for interaction with the creative process of composition

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Composition of multiple figure sequences for dance and animation

Tools for interaction with the creative process of composition